Works from the James Rosenquist Estate [catalogue]

LOOKING AT

JAMES ROSENQUIST

LOOKING AT

JAMES ROSENQUIST WORKS FROM THE JAMES ROSENQUIST ESTATE NEW YORK 15 FEBRUARY 2024

LOCATION 432 Park Avenue New York, NY 10022 AUCTION 15 February 2024, 3pm EST VIEWING 1–14 February 2024 Monday–Saturday 10am–6pm Sunday 12–6pm INQUIRES editions@phillips.com (212) 940-1220

Phillips Editions is proud to present prints from the Estate of James Rosenquist that celebrate the evolution of his printmaking from 1965 to 2012. One of the original iconic Pop artists, Rosenquist was an innovator across mediums who pushed the boundaries of imagery and technique to present a body of work that combined advertising, consumerism, and American life across the second half of the 20th century.

Cary Leibowitz, Worldwide Co-Head, Contemporary Editions Kelly Troester, Worldwide Co-Head, Modern Editions Sarah Browne, Specialist & Head of Sale Jason Osbourne, Associate Specialist Audrey Bastian, Cataloguer Sophie Shapiro, Associate Cataloguer Fiona Fraser, Sale Coordinator Elizabeth Hoskins, Associate Researcher Vivienne Lange, Administrator Jabril Abdullah, Post-sale Administrator Marlis Flinn, Intern

COVER

Spaghetti, 1970 (detail) © James Rosenquist Foundation/Licensed by Artists Rights Society (ARS), NY. Used by permission. All rights reserved.

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FRONT COVER INSET

James Rosenquist in New York City circa 1960s.

Courtesy of the Estate of James Rosenquist.

INSIDE COVER

Circles of Confusion, from 11 Pop Artists, Volume I, 1965 (detail) © James Rosenquist Foundation/ Licensed by Artists Rights Society (ARS), NY. Used by permission. All rights reserved.

From the moment Jim made his first print in the 1960s, he was fascinated by the technical and experimental possibilities in the process. His connections to the medium and the printmakers developed organically, and led to close, long-lasting friendships.

At Universal Limited Art Editions, Derriere L’Etoile Studios, Graphicstudio, Gemini G.E.L., Tyler Graphics, Petersburg Press and other print shops, his poetic imagination joined with technical expertise. There are always surprises in his prints; surreal imagery, expanded thinking and political commentary combine to let the viewer feel the possibility of transcendence, as well as the reality of global strife.

Jim loved the collaborative nature of printmaking. Bouncing ideas around, discussing methods and materials, he and the printmakers often invented new ways to implement his concepts.

He was grateful to every printmaker he worked with. And whether it was lunch at ULAE, a NYC night on the town with Derriere L’Etoile, an Ybor City meal with Graphicstudio, LA dinners with Gemini G.E.L., or a Mt. Kisco get-together with Tyler Graphics (to name a few), there was always mutual love and respect at the table.

The Rosenquist Estate and family would like to thank Phillips—especially Cary Leibowitz, Kelly Troester and Sarah Browne—for selecting these prints from the James Rosenquist Estate. We would also like to thank all the artists and printmakers who were kind enough to talk a bit about Jim and what he meant, and continues to mean, to them.

—The Rosenquist Family

3

First [When was the first time you had your eyes examined?], 1973

5

“ We are constantly being confronted with visual conundrums.

Ah! You say to yourself. Look at that beautiful mountain!

But then you get there you see it’s only rock and dirt.” 1

Rosenquist and his mother, Ruth, Grand Forks, North Dakota, ca. 1935.

Courtesy of the Estate of James Rosenquist.

“ By the time I was a teenager I’d found a way out by picking up pieces here and there, like clues to a puzzle. I’d found a way of looking at the world as disconnected images brought together for an unknown purpose. Without realizing it, I deliberately sought out the incongruities that would match my memories.” 2

Rosenquist in scout uniform with model airplane, ca. 1946.

Courtesy of the Estate of James Rosenquist.

7

Hey! Let’s Go for a Ride, 1972

“ Then it occurred to me that another way of disrupting the picture plane might be to create images so large they would overwhelm the viewer.

I was thinking, of course, of my billboard experience; in my mind, I saw imagery breaking open the picture plane, spilling off it, bursting out of it.” 3

Rosenquist with his mother, Ruth, viewing the first large billboard he painted, Minneapolis, 1954.

Courtesy of the Estate of James Rosenquist.

9

“ When I was painting billboards, one day they’d ask me to paint a big orange, the next day they wanted me to paint a big Early Times whiskey bottle. I’d mix the color and realize the whiskey bottle was the same color as the orange. In Sheer Line I played with that idea in a blend from one area of paint to another. The idea of transforming things right in front of your eyes just by using color. The woman’s skin blends into the color of the sun, the color of the water, and the ripples are echoed in the top of the soda bottle.” 4

James Rosenquist in Times Square, New York, 1958.

Courtesy of the Estate of James Rosenquist.

Sheer Line, 1979

“ The essence is to take very disparate imagery and put it together and the result becomes an idea, not so much a picture. It’s like listening to the radio and getting your own idea from all these images that are often antidotes-acid-to each other. They make sparks or they don’t.” 5

Polaroid of Rosenquist and Polaroid of Rosenquist holding a similar Polaroid of himself, standing in front of Andy Warhol’s Tuna Fish Disaster, 1963, at Warhol’s Lexington Avenue townhouse, New York, 1963. © 2024 The Andy Warhol Foundation for the Visual Arts, Inc./ Licensed by Artists Rights Society (ARS), New York

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Small Doorstop, 1963–67

13

F-111 (south) (west) (north) (east), 1974

15

James Rosenquist working on the print F-111 (1974) in his East Hampton, New York studio, 1974.

Courtesy of the Estate of James Rosenquist.

“ He is very much a visual poet. Sometimes his poems are epic; sometimes they are vast in subject or in scale-but they are still poems. . .

He orchestrates combinations that seem absurd-a French horn and a black hole-but those combinations also make a curious sense, both formally and psychologically. . . lt is just sheer poetic imagination.” 6 —Walter Hopps, co-organizer of Rosenquist’s 2003–2005 Guggenheim museum retrospective

Installation view of F-111 painting at Leo Castelli Gallery, 1965.

Courtesy of the Estate of James Rosenquist.

17

James Rosenquist holding up a proof of a GE logo for his print Circles of Confusion I with printmakers Frank Burnham and Zigmund Priede, Universal Limited Art Editions, Inc., West Islip, New York, 1965.

Image Courtesy of Universal Limited Art Editions.

Circles of Confusion & Lite Bulb, 1966

“ I had so much fun with Jim that it’s difficult to separate what’s done in the studio from what went on in the rest of our lives. We talked all the time, on the telephone when he wasn’t here, about the government and our families and the art world. Because of that, the collaborations he and I had are more about friendship; in amongst all those other involvements, the prints happen.” 7 —Bill Goldston, Universal Limited Art Editions

Dog Descending a Staircase, 1980–82

19

“ There’s a reflection in your eye that causes strange things to happen.” 8

Rosenquist filming inside the installation Horizon Home Sweet Home, 1970.

Courtesy of the Estate of James Rosenquist

Above from High Technology and Mysticism: A Meeting Point, 1981

21

“ Jim’s evenings were lit by lanterns and candles; there was no electricity, no telephone, and no radio. In these limited surroundings, decades before today’s instant access to the rest of the world, he began to see his environment dynamically, as fragments of seemingly disconnected images brought together for an unknown purpose by an unknowable force.” 9 —Donald Saff, Graphicstudio

James Rosenquist and Bill Molnar cleaning etching plates at Rosenquist’s Aripeka studio, Florida, circa 1978.

Courtesy of the Estate of James Rosenquist.

“ It’s really Eastern philosophy. After a day’s work, you march in and wipe your hands off on a paper towel. You are wiping off the things you did all day, never knowing when your best gesture is made, when your creative ability might be showing.” 10

23

“ I wanted to make mysterious pictures. . . From early on I developed an attraction for the incongruous. I had no wish to try to resolve visual contradictions. I felt that aesthetic disparities were actually questions, questions that I did not need to answer. . . Each person seeing the painting will come away with a different idea.” 11 James Rosenquist working on the painting Terrarium outside his studio in Aripeka, 1977.

Courtesy of the Estate of James Rosenquist.

James Rosenquist working on the print Violent Turn (1977) in his Aripeka, Florida studio, 1977.

Courtesy of the Estate of James Rosenquist.

25

“ One of Jim’s great gifts was his ability to speak to everyone as an equal. He loved meeting people—from lunching with locals in Aripeka, Florida, to bar-hopping in Tampa with young artists, to schmoozing with politicians on behalf of funding for the National Endowment for the Arts, to engaging fashionable high-end collectors, to teaching youngsters the secret of mixing colors to make a black that was far richer than anything that could be squeezed from a tube.” 12 —Donald Saff, Graphicstudio

Rosenquist on the front porch of his home in Aripeka, Florida, 1988.

Courtesy of the Estate of James Rosenquist.

James Rosenquist and Master Printer Maurice Sanchez in Rosenquist’s Aripeka, Florida studio, 1977.

Courtesy of the Estate of James Rosenquist.

Tampa—New York 1188, 1974–75

27

“ Sometimes ideas come through the window, floating in from somewhere. . . For all I know it might be electromagnetic signals or extraterrestrial rays or, as they used to say in the old days, a visit from your muse.” 13

James Rosenquist working on Welcome to the Water Planet at USF Graphicstudio, Florida, 1987.

Courtesy of George Holzer.

Welcome to the Water Planet, 1987

29

Space Dust, from Welcome to the Water Planet, 1989

“ When a zingy idea enters your head that little initial blip so consumes you it seems like a thread unraveling your belly button.” 14 31

“ It’s a marvelous piece, it shows the scale, it shows how Jim could warm up to it, slowly but surely. And you could also see where he was going. He was going to go bigger. But he was not going to give us that pleasure, he was going to make us wait.” 15 —Ken Tyler, Tyler Graphics

James Rosenquist applying paper pulp to Time Dust with Ken Tyler at Tyler Graphics Ltd, Mount Kisco, New York, 1992.

Courtesy of Marabeth Cohen-Tyler.

“ Printmaking is something that [Rosenquist] excelled at. . . but I think he’s first love was always painting, and he approached this series as a painter, strong and sure as a painter, not as a graphic artist.” 16 —Ken Tyler, Tyler Graphics 33

“ [Rosenquist] tells you stories along the way, and these stories are supposed to be the metaphors of what’s supposed to happen.

House of Fire, 1989

So you have to pay attention because he doesn’t really give you a direction of which way he wants you to go or which way he’s going to go.” 17 —Ken Tyler, Tyler Graphics 35

James Rosenquist working on a copper plate in the Gemini G.E.L. etching studio, October 1980 © 1980 Sidney B. Felsen.

The Xenophobic Movie Director or Our Foreign Policy, 2011

“ Gemini’s first collaboration with Jim was in 1977, and our friendship and collaborations with him continued for the next forty years. Jim is a storyteller—every artwork of his has a story woven into it. There’s often a fun, light-hearted aspect to it, in the finished artwork as well as the process of making of it. Jim did something I think I’d never seen any of our artists do before or since. Fine art printmaking is a direct process—artists have to draw their images “backwards” in order to make the result read forward. Jim was working on a series of etchings, and he was using a small sketch of one of the images as a reference as he drew onto the copper plate. In a novel and inventive move, Jim grabbed a roll of masking tape and taped the sketch to his chest, so that he would have hands free to hold a mirror in one hand and a brush in the other, assisting him in drawing the image in reverse. And of course, Jim being Jim, he added a single masking-tape military chevron to his sleeve. It was a funny moment and one I will always treasure.”

—Sidney B. Felson, Gemini G.E.L.

Leaky Neck and On Stage from The Glass Wishes, 1981

37

Forehead II, 1968

Rosenquist doing a headstand on a Lincoln Premium convertible. Irvington, New York, 1956.

Courtesy of the Estate of James Rosenquist.

39

James Rosenquist worked with the following Printshops, Publishers, and Collaborators from 1962 to 2017.

ANTHOLOGY FILM ARCHIVES

GALLERIA ARTURO SCHWARZ

PETRO III GRAPHICS

ARIPEKA LTD. EDITIONS*

PRIX À NOBEL

ARTISTS’ RIGHTS

GRAPHICSTUDIO, UNIVERSITY OF SOUTH FLORIDA*

ARTIST WORKSHOP*

GEORGES GIRARD

PYRAMID ARTS, LTD.

ATELIER GEORGES LEBLANC

GEMINI G.E.L.*

RICHARD FEIGEN GRAPHICS*

ATELIER ROYCE, LTD.

HARTFORD ART SCHOOL

ROSA ESMAN

BETSY ROSS FLAG AND BANNER COMPANY*

HOLLANDERS WORKSHOP*

SHOREWOOD ATELIER, INC. SIDNEY SINGER

BILL GOLDSTON

INTERNATIONAL FINE ART EXPOSITION FOR ART ASIA

BIRD ISLAND PUBLISHING, INC.

JAMES ROSENQUIST, INC.

BRAND X EDITIONS

KEN TYLER

BROOKE ALEXANDER, INC.*

KMF, INC.*

CASTELLI GRAPHICS*

LEO CASTELLI GALLERY*

CIRCLE FINE ARTS

MAURICE BEAUDET

DERRIERE L’ETOILE STUDIOS, INC.

MAURICE SANCHEZ

DONALD SAFF

MULTIPLES, INC.*

UNIVERSAL LIMITED ART EDITIONS, INC.*

E. W. KORNFELD

NEW YORK GRAPHIC SOCIETY

VISCONTI/LAZO VUJIC

EXPERIMENTS IN ART AND TECHNOLOGY, INC.

ORIGINAL EDITIONS*

WORLD ART FESTIVAL

PETERSBURG PRESS, INC.*

XXE SIÈCLE

MOURLOT GRAPHICS, LTD.*

FLATSTONE STUDIO

PROPYLÄEN VERLAG

SIDNEY B. FELSEN & JONI WEYL STYRIA STUDIO* SIENA STUDIO* TANGLEWOOD PRESS, INC. TOPAZ EDITIONS TRANSWORLD ART TYLER GRAPHICS LTD.*

*represented in the works selected for the present auction

Notes 1. James Rosenquist, Painting Below Zero: Notes on a Life in Art, 2009, p. 313.

2. Stephan Diederich, “Diving into the Image: A Walk through the Exhibition with James Rosenquist,” in Stephan Diederich and Yilmaz Dziewior, James Rosenquist: Painting as Immersion, 2017, p. 98.

3. James Rosenquist, Painting Below Zero: Notes on a Life in Art, 2009, p. 83.

4. James Rosenquist, Painting Below Zero: Notes on a Life in Art, 2009, p. 243.

5. Julia Blaut, “James Rosenquist: Collage and the Painting of Modern Life,” in Walter Hopps and Sarah Bancroft, James Rosenquist: A Retrospective, p. 17.

6. Walter Hopps, “Connoisseur of the Inexplicable,” in Walter Hopps and Sarah Bancroft, James Rosenquist: A Retrospective, p. 15.

7. Ruth E. Fine, “Off the Continental Divide and Other Risky Journeys,” in Walter Hopps and Sarah Bancroft, James Rosenquist: A Retrospective, p. 49.

8. Jeanne Siegel, “An Interview with James Rosenquist,” Artforum vol. 10, no. 2 (1972), p. 31.

9. Donald Saff, “James Rosenquist (1933–2017)”, American Art vol. 32, no. 1 (2018), p. 89.

10. “A Drawing While Waiting for an Idea,” Art Institute Chicago, https://www.artic. edu/artworks/98212/a-drawing-whilewaiting-for-an-idea.

11. Stephan Diederich, “Diving into the Image: A Walk through the Exhibition with James Rosenquist,” in Stephan Diederich and Yilmaz Dziewior, James Rosenquist: Painting as Immersion, 2017, p. 98.

12. Donald Saff, “James Rosenquist (1933–2017)”, American Art vol. 32, no. 1 (2018), p. 88.

13. James Rosenquist, Painting Below Zero: Notes on a Life in Art, 2009, p. 79.

14. James Rosenquist, Painting Below Zero: Notes on a Life in Art, 2009, p. 79.

15. National Gallery of Australia, “Rosenquist,” 2013, video, https://nga. gov.au/on-demand/rosenquist/.

16. National Gallery of Australia, “Rosenquist,” 2013, video, https://nga. gov.au/on-demand/rosenquist/.

17. National Gallery of Australia, “Rosenquist,” 2013, video, https://nga. gov.au/on-demand/rosenquist/.

Editions included in the Works from the James Rosenquist Estate Auction:

Small Doorstop 1963–67

See-Saw, Class Systems 1968

Oil on canvas, with three light bulbs and cable, Edition of 10 Published by the artist 24 x 36 1/2 x 10 in. [illustrated]

Lithograph, Edition of 100 Published by Richard Feigen Graphics, New York 24 x 34 1/4 in.

Circles of Confusion, from 11 Pop Artists, Volume I 1965

Night Smoke II 1969–1972

Screenprint, Edition of 200 Published by Original Editions, New York 23 7/8 x 19 7/8 in. [illustrated]

Whipped Butter for Eugene Ruchin, from 11 Pop Artists, Volume II 1965 Screenprint, Edition of 200 Published by Original Editions, New York 24 x 29 7/8 in.

For Love, from 11 Pop Artists, Volume III 1965 Screenprint, Edition of 200 Published by Original Editions, New York 35 3/8 x 26 3/4 in.

F-111 (Leo Castelli Gallery) 1965 Offset lithograph, Edition of an unknown size Published by Leo Castelli Gallery, New York 29 x 23 in.

A Drawing While Waiting for an Idea 1966 Lithograph, Edition of 52 Published by Universal Limited Art Editions, West Islip, New York 14 7/8 x 9 3/8 in.

Morning Mirror 1966 Lithograph, Edition of 28 Published by the artist 23 7/8 x 20 in.

Circles of Confusion & Lite Bulb 1966 Photolithograph with screenprint, Edition of an unknown size Published by the artist 23 x 23 in. [illustrated]

Forehead I; Forehead II 1968 Two lithographs, Editions of 121 and 96 Published by Richard Feigen Graphics, New York Forehead I: 33 1/2 x 25 1/2 in.

Forehead II: 33 5/8 x 24 3/8 in. [illustrated]

Lithograph, Edition of 27 Published by Universal Limited Art Editions, West Islip, New York 22 1/2 x 31 3/8 in.

Spaghetti 1970 Lithograph, Edition of 50 Co-published by Castelli Graphics and Hollanders Workshop, New York 30 7/8 x 42 in. [illustrated]

Tumbleweed 1970 Lithograph, Edition of 68 Co-published by Castelli Graphics and Hollanders Workshop, New York 21 3/4 x 29 1/2 in.

Delivery Hat, from Cold Light Suite 1971 Lithograph, Edition of 70 Published by Graphicstudio, University of South Florida, Tampa 6 1/4 x 4 1/4 in.

Mirrored Flag; Moon Beam Mistaken for the News; and Cold Light, from Cold Light Suite 1971 Three Lithographs, Edition of 70 Published by Graphicstudio, University of South Florida, Tampa Mirrored Flag: 29 x 22 1/4 in.

Cold Light: 22 1/4 x 30 in.

Moon Beam Mistaken for the News: 22 1/4 x 30 in.

Earth and Moon, from Cold Light Suite 1971 Lithograph with bead-filled vacuum-formed plastic hourglass collage, Edition of 70 Published by Graphicstudio, University of South Florida, Tampa 18 3/4 x 17 5/8 in.

Pulling Out 1972 Lithograph, Edition of 39 Published by Petersburg Press, New York 25 1/2 x 30 in.

Hey! Let’s Go for a Ride 1972 Lithograph, Edition of 75 Published by Petersburg Press, New York 31 1/2 x 30 1/8 in. [illustrated]

41

Brighter than the Sun 1972

Head Stand 1977

Lithograph, Edition of 60 Published by Petersburg Press, New York 28 x 38 in.

Lithograph, Edition of 39 Published by Gemini G.E.L., Los Angeles 21 1/4 x 44 in.

Short Schedule 1972

Terrarium 1978

Lithograph, Edition of 75 Co-published by Multiples, Inc. and Castelli Graphics, New York 22 1/8 x 29 5/8 in.

Lithograph, Edition of 100 Published by the artist 29 1/4 x 44 5/8 in.

Banner #1 1972

Lithograph, Edition of 100 Published by Aripeka Ltd. Editions, Aripeka, Florida 26 7/8 x 47 7/8 in.

Mixed media tapestry, Edition of 32 Published by Betsy Ross Flag and Banner Company and Multiples, Inc., New York 91 1/4 x 53 1/8 in.

Banner #2 1972 Mixed media tapestry, Edition of 32 Published by Betsy Ross Flag and Banner Company and Multiples, Inc., New York 98 x 65 1/8 in.

First [When was the first time you had your eyes examined?] 1973 Lithograph with hand-coloring in acrylic spray, Edition of 32 Published by Brooke Alexander, Inc., New York 23 x 31 in. [illustrated]

Off the Continental Divide 1973–74 Lithograph, Edition of 43 Published by Universal Limited Art Editions, West Islip, New York 42 x 78 1/2 in.

F-111 (south) (west) (north) (east) 1974 Complete set of four monumental lithographs with screenprint, Edition of 75 Published by Petersburg Press, London South: 34 1/2 x 69 in.

West: 31 x 74 in.

North: 31 1/4 x 68 3/4 in.

East: 30 x 74 1/8 in. [all illustrated]

Tampa—New York 1188 1974–75 Lithograph, Edition of 40 Published by Graphicstudio, University of South Florida, Tampa 36 1/4 x 74 1/8 in. [illustrated]

Industrial Cottage 1978–80

Idea I; and Idea II 1979 Two Lithographs, Edition of 76 and 83 Published by Aripeka Ltd. Editions, Aripeka, Florida Idea I: 6 x 4 1/2 in.

Idea II: 5 3/4 x 4 1/2 in.

Sheer Line 1979 Lithograph, Edition of 100 Published by Multiples, Inc., New York 29 1/4 x 44 7/8 in. [illustrated]

Doorskin 1979 Etching, aquatint and embossing with pochoir, Edition of 78 Published by Aripeka Ltd. Editions, Aripeka, Florida 28 1/8 x 35 7/8 in.

Chambers 1980 Lithograph, Edition of 45 Published by Universal Limited Art Editions, West Islip, New York 29 3/4 x 47 1/4 in.

Dog Descending a Staircase 1980–82 Lithograph and intaglio, Edition of 33 Published by Universal Limited Art Editions, West Islip, New York 42 x 70 in. [illustrated]

High Technology and Mysticism: A Meeting Point 1981 Complete set of seven lithographs, Edition of 150 Published by Aripeka Ltd. Editions, Aripeka, Florida all 34 x 33 in. [one illustrated]

The Glass Wishes: eight plates 1981

The Light Bulb Shining 1992

Eight aquatints, Edition of 59 Published by Gemini G.E.L., Los Angeles all 33 1/2 x 26 1/4 in. [three illustrated]

Lithograph, Edition of 50 Published by Tyler Graphics Ltd., Mount Kisco, New York 52 1/4 x 41 3/4 in.

The Kabuki Blushes, from Secrets in Carnations 1986 Lithograph with monoprint collage, Edition of 59 Published by Graphicstudio, University of South Florida, Tampa 39 1/4 x 41 3/8 in.

Welcome to the Water Planet 1987 Aquatint, Edition of 55 Published by Graphicstudio, University of South Florida, Tampa 75 1/2 x 60 in. [illustrated]

The Prickly Dark 1987 Aquatint, Edition of 55 Published by Graphicstudio, University of South Florida, Tampa 65 3/4 x 67 in.

The Bird of Paradise Approaches the Hot Water Planet, from Welcome to the Water Planet 1989 Pressed paper pulp print with lithographic collage, Edition of 28 Published by Tyler Graphics Ltd., Mount Kisco, New York 96 x 84 1/2 in.

Time Door Time D’Or, from Welcome to the Water Planet 1989 Pressed paper pulp print with lithographic collage, Edition of 28 Published by Tyler Graphics Ltd., Mount Kisco, New York 96 3/4 x 119 1/2 in. [illustrated]

Space Dust, from Welcome to the Water Planet 1989 Pressed paper pulp print with lithographic collage, Edition of 56 Published by Tyler Graphics Ltd., Mount Kisco, New York 66 1/2 x 104 3/4 in. [illustrated]

Speed of Light 1999 Complete set of six lithographs, Editions of 52, 54, 65, 58, 50 and 60 (respectively) Published by Universal Limited Art Editions, West Islip, New York smallest 27 3/4 x 23 7/8 in. largest 44 1/4 x 34 7/8 in.

The Stowaway Peers Out at the Speed of Light 2001 Lithograph, Edition of 40 Published by Universal Limited Art Editions, West Islip, New York 46 x 105 3/4 in.

The Xenophobic Movie Director or Our Foreign Policy 2011 Lithograph and screenprint, Edition of 42 Published by Gemini G.E.L., Los Angeles 25 x 58 in. [illustrated]

The Memory Continues but the Clock Disappears 2011 Lithograph mounted to aluminum panel with etched and hand-colored rotating mirror, Edition of 45 Published by Universal Limited Art Editions, West Islip, New York 39 1/2 x 26 1/2 in.

Time Lines 2012 Lithograph mounted to aluminum panel, with etched and hand-colored rotating mirror, Edition of 44 Published by Universal Limited Art Editions, West Islip, New York 27 1/2 x 23 x 1 3/4 in.

Caught One Lost One for the Fast Student or Star Catcher, from Welcome to the Water Planet 1989 Lithograph with pressed paper pulp collage, Edition of 92 Published by Tyler Graphics Ltd., Mount Kisco, New York 54 1/2 x 37 7/8 in.

House of Fire 1989 Pressed paper pulp print with lithographic collage, Edition of 54 Published by Tyler Graphics Ltd., Mount Kisco, New York 54 1/2 x 119 1/2 in. [illustrated]

43

Time Door Time D’Or, from Welcome to the Water Planet, 1989

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